L.A. Weekly's Scores

For 70 reviews, this publication has graded:
  • 64% higher than the average critic
  • 2% same as the average critic
  • 34% lower than the average critic
On average, this publication grades 0.8 points lower than other critics. (0-100 point scale)
Average Music review score: 71
Highest review score: 90 Kid A
Lowest review score: 10 Bridge
Score distribution:
  1. Positive: 54 out of 70
  2. Negative: 6 out of 70
70 music reviews
    • 74 Metascore
    • 90 Critic Score
    Argyle Heir is the Brooklyn-based combo’s most perfect recording, loaded with gently baroque, quietly cinematic tunes that leisurely melt away in your head.
    • 85 Metascore
    • 90 Critic Score
    Not as consistent as The Coup’s outstanding Steal This Album from 1998, Party Music still manages to be one of 2001’s best.
    • 76 Metascore
    • 90 Critic Score
    In a just universe, Nikka Costa, with her near-perfect American debut, Everybody Got Their Something, would become the ‘00s answer to Janis Joplin, Teena Marie and Like a Virginal Madonna.
    • 73 Metascore
    • 90 Critic Score
    Cast in layers upon layers of aural intricacy, Toxicity charters new frontiers, yet it’s still grinding rock at its most deafening.
    • 70 Metascore
    • 90 Critic Score
    Scorpion propels her into pop stardom’s embrace, smartly blending party anthems with thug themes.
    • 70 Metascore
    • 90 Critic Score
    His best effort yet.
    • 78 Metascore
    • 90 Critic Score
    Tortoise have finally integrated their influences and discovered how to do more than mimic...
    • 83 Metascore
    • 90 Critic Score
    An early contender for album of the year.
    • 69 Metascore
    • 90 Critic Score
    The sound of a band blissfully uncoiling under the sun of self-assurance.
    • 65 Metascore
    • 90 Critic Score
    Mellow, dramatic and bathed in atmosphere, Exciter is the sound of a band at the height of its powers.
    • 88 Metascore
    • 90 Critic Score
    A beautiful album that even non-Harvey fans might relate to, Stories is an undeniable, unrelenting triumph.
    • 76 Metascore
    • 90 Critic Score
    Propelled by her aggressive but seductive voice, Haunted walks the line between dark, beat-driven trip-hop and warm, melodic pop. What separates the album from its competition is Poe?s smart and emotionally charged songwriting, rife with raw energy balanced by gorgeously understated hooks.
    • 80 Metascore
    • 90 Critic Score
    Kid A may feel cold and ahuman at first, but stick with it for the full 50 minutes: Listen long enough, and a fragile, flickering glow becomes apparent amid the chill. It?s the sound of human warmth flooding into a formerly alien space -- of Radiohead finally going exactly where they wanted.
    • 71 Metascore
    • 90 Critic Score
    Hands down, this is one of the best-produced albums of the year...
    • 72 Metascore
    • 90 Critic Score
    Yeah, it's a party. And it's great rock music. Those who claim Manson "went back to Goth" and reclaimed Antichrist's noise after Mechanical proved too subtle for kids are only partly right. Okay, he virtually cloned his hit "The Beautiful People" in "Disposable Teens." And there are several familiar yell-and-stomp numbers on Holy Wood. But even those almost all contain a double-take chord change or a textural overdose or a mind-blowing bridge, and they'll be terroristic in concert. More important, there are a bunch of plain brilliant tracks where Manson anoints bits of rock history into his own church.
    • 88 Metascore
    • 80 Critic Score
    Warmer, more soulful and worldly than the average drug-fueled ravers, Basement Jaxx may not quite have relaid house's foundation, but they've at least redrawn a few of its rules -- beat by gleeful beat.
    • 73 Metascore
    • 80 Critic Score
    A wonderfully warm recording, Silver & Gold is country-folk soaked in co-producer Ben Keith's crying pedal steel, Neil's harmonica, fiddles, acoustic guitars and even Emmylou and Linda for good measure on one cut.
    • 82 Metascore
    • 80 Critic Score
    Played quiet, Epitaph is like rain on the roof; when you’re rattling the casements with the monster bass, it’s like an air mattress.
    • 78 Metascore
    • 80 Critic Score
    The recipe has changed little; if anything, it?s only become more articulate. Hauntingly beautiful backing tracks that could easily stand on their own float along, barely moving.
    • 72 Metascore
    • 80 Critic Score
    There?s a magical sound potion that can cure lovesickness, and it?s called Parachutes, the first full-length CD by Coldplay.... Every song sounds like a hit.
    • 82 Metascore
    • 80 Critic Score
    Point is even weirder than previous Cornelius records, even if its emphasis on acoustic guitars makes it seem uncharacteristically mellow at first listen.
    • 77 Metascore
    • 80 Critic Score
    Devoid of the cartoonish cabaret crooning of 1997’s breakthrough Cassanova, Regeneration is more down-to-earth, with less grandstanding and more adventurousness.
    • 61 Metascore
    • 80 Critic Score
    Under Rug Swept is Alanis Morissette in top form, exercising her God-given right to vent and sound beautiful doing so.
    • 72 Metascore
    • 80 Critic Score
    It's all very precious stuff, sounding like some of Sebadoh's best material. Kids who've eaten up the whole indie-rock thing thus far will go bananas over Pedro the Lion.
    • 80 Metascore
    • 80 Critic Score
    There isn't the slightest pause between any of the tracks on Thirteen Tales, just one big schmeer of good-rockin' vibes cresting and troughing for the length of this ode to, well, hipness.
    • 73 Metascore
    • 80 Critic Score
    If Alive to Every Smile doesn’t indicate Wratten is ready to move on thematically, it does show him evolving musically.
    • 75 Metascore
    • 80 Critic Score
    Amiable multi-instrumental pop shuffles in the hazy mode of the Beatles' Magical Mystery Tour, gauzed with intricate four-part harmonies and a host of sound effects, bump up against loping, kitchen-sink ambientronic instro-ludes in albums that seem created somewhere outside of standard time by art students with a serious pop jones.
    • 77 Metascore
    • 80 Critic Score
    His latest finds the Jamaican lyrical wizard working Rasta magic on a humorous pastiche of sexual posturing and socially conscious manifestoes, all nailed down on a canvas of ass-shakin' ragga, hip-hop, reggae and dancehall jams.
    • 87 Metascore
    • 80 Critic Score
    The Argument provides a rough blueprint for Fugazi’s current music: more melodic, fascinated as much with miniatures as grand anthems, more tensed, better prepared for the inevitable explosions.
    • 88 Metascore
    • 80 Critic Score
    Blueprint is his best since debuting with Reasonable Doubt in 1996.